The Pirates of Penzance

The Broadway version of this well know operetta provides an opportunity for a new comic dimension to be added to the standard format and PODS took many opportunities to explore this, with great success.

The story remains centred on a roguish Pirate King and his band of pirates and an adventurous Apprentice called Frederick, who goes in search of treasure and romance. Amongst others, he meets a bevy of beautiful girls and their befuddled Father, the Major General, falls in love with one of them and overcomes an unfortunate technicality which almost prevents their happiness.

The ‘Pirate King’ (Paul Tapley) was played with great strength in voice and presence throughout with a splash of comedic naïve devilment, most suited to his character. ‘Frederick’ his apprentice, played by Tom Wilson-Dowdeswell was equal to the task with some accomplished singing which the score frequently demands. Suzie Tapley provided an endearing characterisation of Frederick’s nursemaid ‘Ruth’ who Frederick tactfully explained may not be as beautiful as she would have him believe.

The arrival of Major General Stanley’s daughters increased the momentum and their innocent antics added to the fun, led by Loren Howland as ‘Edith’. Frederick soon meets ‘Mabel’ (Briony Stevens) and is not surprisingly swept off his feet with her good looks, matched by her beautiful singing. Their Father arrives and Tim Shackley completely rises to the occasion with his superb rendition of ‘I am the very model of a modern Major General’, complimented with relevant back projections.

Throughout, the swashbuckling pirates and chaperones sang with great energy and the unaccompanied piece ‘Hail Poetry’ was a magnificent ‘goose bump’ moment in Act 1. In Act 2, the tempo rarely dropped and further comedy was added by the Policemen led with great physicality by the ‘Sergeant of Police’ Sean Phillips. Other good support was provided by Peter Spence (‘Samuel’), Lindsey Kirby (‘Kate’), Issy Jones (‘Isabel’) and Rob Watts and his aerial silks. The choreography was stylish and well executed on an impressive well -lit set and the costumes were stunning.

The orchestra and sound can ‘make or break’ a show, and in this instance it was clearly the former. Andrew Hemming with the baton led his own tight ship, reducing the volume as required, in support of the performers. The Director Judy Megarry and the production team should be very pleased with the overall result.

 

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